Since moving to the US in late 2023, the artist has played nearly 50 shows, including iconic venues such as Red Rocks, and continues to build momentum with the turn of the new year. With lots on the horizon, we are excited to premiere an ID-filled, all-original COPYCATT mix spanning an electric 60 minutes.

In this mix, COPYCATT takes his artistry to new heights, featuring 30 unreleased tracks and showcasing bootlegs of Pusha T, Danny Brown, and the highly sought-after ‘Baddadan’ remix. This mix marks a milestone in COPYCATT’s career, and offers a glimpse into his artistic vision.

We also had the pleasure of catching up with the producer for the first time since 2020, getting a detailed look into his life since then, the mix-creation process, and much more. Don’t miss the mix and interview below!

Let’s dive right into this mix. What prompted you to put it together in the first place?

Honestly I feel like I’ve done a lot more writing than I have released in the last few years and I haven’t really put out any big statement pieces recently so I thought it was about time I give a kind of update on what I’ve been working on.

It’s also a lot more motivating to know I’ve got an outlet for the stuff I’m writing when I’ve got a show or two coming up

33 tracks, 30 of which are unreleased. That’s an insane amount of music. Have you recently found a new wave of productivity? Do you feel more at ease sharing your work compared to a few years ago?

Since I moved out to the US I’ve been basically living off playing shows for the first time so I’ve got a lot more free time than I’ve had previously. It’s also a lot more motivating to know I’ve got an outlet for the stuff I’m writing when I’ve got a show or two coming up. There’s definitely a chunk of things in this mix from the hard drive that date back a while but certainly a larger portion is things I’ve written more recently. I’m glad to air it all out honestly, I haven’t been this excited to upload anything in a while. 

You’ve got a couple of collaborations in the mix, notably one with Chee and one with Zane Schaffer. How did those come about? Collaborations are somewhat rare for you – how do you decide when to work with someone, and why do you feel the two aforementioned artists were good fits for collaborations?

I’m gonna take a bit of license here and say that Lee (Chee) and I have been mutual fans of each other’s music for a while now. I’ve always felt like we have similar influences when it comes to bass music and hip hop so collaborating was on the to-do list for a while. We had a couple of ideas we were working on before I came out to the US, but since I met him in person at the end of 2023 we’ve only added more stuff to the pile. Similar story with Zane – I was a fan of his work through SoundCloud and got to meet him early last year, and we just kinda related on a lot of things musically and ended up churning out a few good ideas pretty quickly. He works hella quick too. I feel like an old man whittling away at my one drum sample while this guy is just cranking out ideas with his wired earbuds like a madman.

The mix also features remixes of artists ranging from Wu-Tang Clan to Pusha T and Danny Brown. What drew you to remix these particular tracks, and how do you approach reimagining these works?

I really only ever bootleg stuff I like. Often times it’s just something that’s really inspiring me and I end up throwing it into the DAW and having fun. The Wu-Tang Clan bootleg was especially significant for me – I was listening to that track a lot back in Brisbane and I wanted to give it a treatment that preserved everything I like about the original, while adding a bit more thrash n bash to it. I worked on that one both in FL Studio and Ableton to try out different ideas, and I’m pretty happy with the result. I’ve also been on a bit of a Danny Brown kick for a sec obviously now that I’m onto my second bootleg. I did make one exception to my bootlegging rule recently after my manager bullied me into flipping Nelly’s ‘Country Grammar’ for a show in St. Louis – it turned out pretty aight so no bad blood, Wes.

It’s been so easy to meet people and make connections

I can’t believe it’s been over four years since we last connected. At that time you had recently moved to Melbourne from the Brisbane area, and now you’re living in Denver, correct? Was Denver a no-brainer for you when you got your visa?

Bizarre. That was during COVID too, which feels like a weird dream in retrospect. I was spending a lot of time on Discord with Frequent, Hudson Lee and the Upscale squad back then. It kinda just worked out that when my visa got approved Nolan (Frequent) had a room free up in the big share house he’s at in Denver so I basically moved straight into the middle of everything. It was extremely serendipitous in a lot of ways – my biggest listener base has been Denver for a long time so I got to meet a lot of people who were either long-time internet friends or long-time fans which was wild. Obviously that included meeting Nolan in person for the first time since we met online in 2013 (Shoutout ‘Adapted Records Up & Comers 2013’), which was bizarre and awesome. We’ve played a lot of fun and atrocious sets together in questionable settings since. Also got to meet Keota who lives out here who I’ve also known since I think 2015. The list goes on and on. It’s been a trip.

What’s the best and worst thing about living in the States?

Honestly I don’t know if it’s just that I’m living in the epicenter of the music scene I’ve been a part of for so long or maybe it’s Colorado specifically, but it really feels like Americans are a lot more outgoing than what I’m used to. It’s been so easy to meet people and make connections, and I feel like I get roped into so many things that I normally wouldn’t if I relied solely on my own social battery. There’s always stuff happening. That’s the real difference I feel living here. In Australia, even when things are happening, it feels like the energy stays very slow and relaxed, in both a good way and a bad way. At home I’m relaxed and grounded, but out here I’m motivated and inspired. I’m genuinely grateful for both, but I do miss home a bit. Thankfully planes exist.

I will also say my humour does not always translate out here. The Australian way is to kind of joke in a way that is nearly indistinguishable from being sincere, and that’s created more than a few awkward moments for me since I got here. But on the bright side watching me bewilder someone I just met is entertaining for my friends to watch. Nolan loves it.

This is the first time in my 13 years of making music that I’ve been able to live off of it so I’m very grateful

How has moving to the States had an impact on your career?

It feels cliché to call the US “The Land of Opportunity”, but for me that is true. Most of the artists and events that are relevant to my music are here, so it’s no surprise to me that I’ve felt so busy since I got here. This is the first time in my 13 years of making music that I’ve been able to live off of it so I’m very grateful. The US has literally 10x the population of Australia, so even just from a show standpoint, it’s a lot harder to exhaust the show opportunities than it would be back at home.

Has the move had an impact on your music and creative direction?

It’s funny I think I’ve watched like 3 or 4 different non-US artists I know all move to the US and gradually slide into making 140bpm bass stuff. I was like “I wonder if that will happen to me.” and it definitely has to a degree, but I’m also a sucker for the boom-bap bounce. So my subconscious seems to have found a compromise by slowing my usual 180bpm vibe down to 160bpm. Feels a bit slower and heavier I guess. I am loving the 140bpm stuff though. Dudes like Cesco, Monty, Chee, Kursa, VCTRE, and Ternion Sound have definitely sold me on it.

Aside from that I’ve really just connected more deeply with my own ambitions since I came out here. Despite how deeply I’ve always loved music and the power it has to create culture, getting a decade into it and going through a whole ass burnout phase honestly had me feeling a bit apathetic about actually trying to make something of it. Getting the visa and doing the tour was kind of a leap of faith, and seeing that dream become so real has brought back a lot of old sentiments and dreams about music that I’m more inclined to explore now.

I’m also constantly learning that taking risks and being vulnerable is really the path to great art

When we last spoke, you discussed having an on-and-off relationship with social media in the past, but left us with “trying to make something interactive out of my art using social media is honestly something I’m enjoying exploring at the moment.” Do you feel that that has changed over the last couple of years? Does getting more show opportunities put pressure on you to be more active on social media?

There is definitely an element of having to promote the shows I’m playing and sell tickets that I worry might be taxing for people who just follow me because they wanna hear my music. If I really have to promote something I try to have fun with it and be genuine. I usually make myself laugh at least. At the moment I hope throwing an hour of unreleased music at that problem will mitigate the “promo fatigue” some of my listeners might be feeling. But I’ve also missed out on seeing some really good shows because I didn’t hear about it, and social media really is getting increasingly loud and saturated so I don’t feel too bad about pushing a show or two, especially if it means people actually come and boogie. I also post a lot of silly shit (and put it in my mixes). I don’t know how to feel about that, I just kinda neglect self-control sometimes in that regard, but at least it’s honest. I think as long as I focus on making good art and putting it out there’s a bit of leeway for me to promote a few shows and dick about and be myself.

You also left us with a great paragraph on the importance of only doing the stuff that you like to do. Do you still live by this? Has your recent success put some externally or internally-imposed pressure on you to make music for others instead of yourself, or do you still feel entirely true to yourself?

I’ve only become more confident in the idea that making the thing that you love is always going to be the best thing you have to offer. I will say performing has added an interesting layer to this philosophy I have, because the task when you’re getting on stage is to create an experience and pull people into it. That requires you to get into their shoes a bit and try and understand your music from their perspective. Sometimes I play tracks that I feel sick of or wouldn’t listen to by myself because if I know it’s gonna get the room on the same page and open the vibe up so I can play the stuff I really want to play. But I’m also constantly learning that taking risks and being vulnerable is really the path to great art, so if there’s any pressure I impose on myself it’s just to take the risk with pushing what I love even if I’m worried it might not work. Aside from that I do not care to “hustle”. Somewhere along my 13-year journey I burned that stress out of me and since then I’ve concluded that if I want to sacrifice my joy for the sake of profit or clout I should go home and take up a trade or something. Creating is too precious for that.

Alright, no more deep stuff. You’ve played close to 50 shows, including Red Rocks, since moving here. What are some of your plans for 2025? Any bucket list venues or festivals you’d like to play?

January seems to be when all the promoters start to count their chickens and make plans so there’s a lot of offers coming in but not many announced yet. I’m looking forward to playing the Slander show in Arizona next month going b2b with VCTRE (also finally get to see Chee b2b Moody Good at that show). Also Starbase in April. The lineup for that is stacked. 

As far as shows I’d like to play, I’m kinda just down to see what pops up. I’m hanging out to hit a few of the cities I haven’t played so far like NYC and also there’s definitely a few gigs I’ve played that I’d love a rerun on – Infrasound, Submersion, Flash Club in DC, Tampa FL, and Sioux Falls were all standouts.

I’ve only become more confident in the idea that making the thing that you love is always going to be the best thing you have to offer

And we have to ask, how much of this mix material is going to get an official release?

This is a great question that I’ve been asking myself to be honest. I definitely intend to release an EP in the first half of this year, and two or three of those bootlegs are coming out very soon. I’m certainly not invulnerable to external validation so it’s likely if some particular track on the mix gets a lot of love I’ll probably put it out sooner. I’ve also thrown a few tracks in from this more melodic guitar-infused album I’ve been nursing which was kind of intended to piggyback off of ‘SUIT UP‘, a track that I only ever put up on SoundCloud. I’ve refused to put a deadline on that stuff because it feels like a sound I’ve been developing and honing for a while. I think this mix might be the first time a few of those tracks are uploaded anywhere. I also performed a few of them at Submersion last year so I can tentatively say I’m moving towards that sound more and more, and might blast that one out into the world this year, but that’s one of those creative risks I’m talking about. We shall see.

The post PREMIERE: COPYCATT Shares ID-Filled, All-Original 2025 Mix appeared first on FUXWITHIT.

‘Wannabe’ is a quintessential Vorso track that fans immediately recognize upon hearing it. COPYCATT”s treatment of it is exactly what fans have come to love from the artist. Together, Vorso and COPYCATT’s names on a single track seems like perfection. About that, COPYCATT states, “I met Tom back in like 2015 when we were both using different monikers. We all used to chat in forums and comment on each other’s Soundcloud tracks, so in a digital kinda way it feels like we came from the same hood. I think we mutually enjoyed each other’s music even back then so it feels pretty wholesome to share a release with both of our names on it some 8 years later.”

COPYCATT keeps the allure of the original intact throughout the introduction, modifying it enough to be recognized as a new rendition but not too much to completely erase its origins. The talented producer quickly adds his own flair to the piece, before the drop hits and listeners are taken on a halftime journey. Typical with COPYCATT productions, the ‘Wannabe’ remix carries an aggressive swagger that flows well due to its hip-hop influence, punching harder with every passing bar but never becoming overbearing.

The glimmer of hope is also complemented by COPYCATT’s return to America. Until then, dive into his remix of ‘Wannabe’ below.

The post COPYCATT Flips Vorso’s ‘Wannabe’ Into A Monstrous Brute appeared first on FUXWITHIT.

A true maestro in combining soul-stirring instrumentals and core-rattling reese basses, COPYCATT has continued to set a new standard in the all-encompassing umbrella of bass music with each and every release, and ‘SUIT UP’ is no exception. Drawing influence from various genres ranging from hip hop heard through the crisp sample selection, to lo-fi sprinkled in the interludes, ‘SUIT UP’ is COPYCATT at his best. The melodic parts are emotional and moving, the drop sections are as clean as bass music can get, and the crossover between the usually disjoint sounds is bridged seamlessly by the legendary producer. ‘SUIT UP’ spans almost six minutes, but COPYCATT keeps you hooked from start to finish with his meticulous use of space and attention to detail throughout the track.

You’ll have this one on repeat for hours on end, so don’t miss ‘SUIT UP’ below.

The post COPYCATT Silently Drops One Of His Best Tunes To Date, ‘SUIT UP’ appeared first on FUXWITHIT.

We had the extreme pleasure of connecting with COPYCATT in order to discuss this exciting return, touching on a wide array of topics such as self-criticism, the power of social media, developments in his personal life, musical influences, and so much more. The talented artist provides a plethora of useful insights that may help artists or fans who are struggling with creative output, while keeping a lighthearted tone throughout the interview. In addition, we’ve been blessed with an ID-riddled 30-minute guest mix from the bass maestro, where he showcases a bunch of originals and remixes that are perfectly suited for the FUXWITHIT audience. Don’t miss the interview and mix below.

Thanks so much for connecting with us! First off, let’s talk about your mix. What vibe did you try to create? What is the best setting for listening?

I think I’d call this a neat little flagship “COPYCATT” mix. It’s a comfy blend of what I’d call my staple originals in with a good few IDs that I play regularly. I’ve kinda been going over my entire catalog of things I’ve made since I started this project in 2015 and I think I’m finding a new affection for some of the older bits I’ve written, so there’s a couple of older goodies in there. In terms of listening setting, I’m really missing playing shows right now so I think I wanted to emulate an energetic live feel, but ironically I didn’t have any decks so I made it in Ableton and it took me fuckin ages comparatively. I think it came out more like a montage honestly. Anyway I’m enjoying the thought of somebody thrashing out to this mix in their car. Or maybe baking a cake to it. Or a pretzel. You bake pretzels right?

The more I let go and just make stuff without thinking so hard, the more things just seem to work.

This mix, paired with your recent activity on SoundCloud, unofficially announces your return to music, right? What prompted you to delete your SoundCloud around a year ago?

Yeah I’d say I’ve been making an effort to publicly re-engage with my music. I think I was pretty tired for a little while by this emotional merry-go-round I felt like I was on. I had a few bad habits and self-deprecating ways of thinking, which got pretty out of control at some point and with social media and the Internet in the mix my experience with being publicly creative kinda became this cocktail of ups and downs that made it difficult to actually pinpoint the problem. I think I’ve tried to ‘officially’ quit music two times without really knowing exactly why. When I deleted Soundcloud it was more of an act of trying to protect my creative ambition. I guess to enjoy creating for no reason except to let stuff out, and not need it to be anything. Also to kill that need to ‘be productive’ with every waking moment of my life. After a few months out I kinda started to see that a lot of my creative worries came from this really hectic self-criticism, which I think I medicated by getting validation from others instead of confronting my own shit. 

Honestly I think I also just put a lot of pressure on myself to have everything figured out and to keep up with every standard I created for myself. The more I let go and just make stuff without thinking so hard, the more things just seem to work.

It sounds like you’ve overcome this need for external validation. What advice would you give artists who struggle with this as you have?

I can’t say I’ve completely neutralised every weakness I have in that area, but I’ve definitely found a better balance of looking after myself, being super proud of my shit, forgiving myself for wanting people to like the shit I make, and after everything just choosing not to give so many fucks and just upload stuff. It’s by no means a perfect set of philosophies but I think making do with mess is a virtue of being a creative. Or being human really. I think if you can really love yourself you’re leading the way to showing other people how to like you.

I’m learning to kind of just ignore my fear of failure. At least enough to conclude that never putting my stuff out there is worse than having it fail (whatever “fail” means). I’m just putting confidence into my own stuff now. Like really falling in love with some of the things I’ve made. The more I look the more I’m starting to see a really unique collection of things I really connect with and am proud to let out. 

I’m also learning to stop trying to copy other people to some degree (yes, I understand the irony). I think being inspired by other people is totally valid but I got real caught up trying to “keep up” with everyone else for a while, so much that I couldn’t recognise the things I was good at. 

In an interview I read, Noisia listed a Sun Tzu quote as one of their favourite quotes: “Fight your enemy where he isn’t.” For me that’s not to imply that anyone is my enemy, but more that really success is just doing the thing that only you can do. And now I’m quoting Noisia quoting it in an interview in an interview. Haha. 

Relatively speaking, you’re quite inactive on socials. You didn’t even post anything when you made your new SoundCloud and posted ‘PIPES’! Is this is a conscious effort in order to stay detached from what people think?

I would love to say that I’ve got all my social media philosphies nailed but honestly I’m a mess in that area too. I really was intent on doing a massive kinda detox for a while. I had this little Nokia brick phone for half of 2019. My friends hated me for it but honestly it was helpful at the time in terms of cutting off that IV drip of low level entertainment. I figured out I really like running off into random suburbs for arbitrary amounts of time. I think after that experience I kinda developed this aversion to touching social media like an ex-smoker might avoid being around cigarettes.

Now that I’m kinda better at enjoying my life without social media I’m starting to work on integrating it into my project again. It’s honestly a blast when it comes to building a brand. Trying to make something interactive out of my art using social media is honestly something I’m enjoying exploring at the moment.

Making do with mess is a virtue of being a creative.

On another note, I heard you recently made the move from the Brisbane area down to Melbourne on your bike. How was that trip? How long did it take you? Any key highlights from that ride?

Haha yeah that was unreal actually. I got my motorcycle license earlier this year, which was pretty out of character given that I don’t know many people that ride, or even agree with riding motorcycles to be honest. A lot of people in my life (with nothing but the best of intentions) tried to put me off the whole motorcycle thing, and I think that really added to that thrill of making my own choices. Sorry mum. Love you mum.

So yeah then when I pinned a lease in Melbourne I kinda just decided to ride the bike down and see how it would feel.

The trip was incredibly beautiful. A lot of the rural areas in New South Wales are amazing. Just long roads through valleys and over hills. Hot tip to anyone thinking of doing the same though – get glove liners, a neck warmer and something to block the road noise out. Even a 20C wind hitting you at 100km will make you cold eventually. I remember this one cold ass night I got caught out after dark on the highway heading to the Victorian border. I felt like I had rigor mortis, I just froze up in this one position and had to tuck into the slipstream of this big truck for like 2 hours to stay warm. I have never enjoyed a hot shower more than I did that night. I think I wrote like a solid paragraph in my AirBnB review about the width of the shower head and how great it was.

All in all a cool experience, but if I had to do it again I would definitely take someone with me. I would have loved to have shared that experience with another human being.

Why the change of scenery to Melbourne? Was it more of a career move or a personal move?

More of a change of scenery really. I’ve got a lot of extended family down here, and I guess I started dreaming about living down here last time I visited. I think just taking everything I’ve learned and planting it in a new setting has been really fun so far.

That being said there’s a couple of great producers down here I’d love to meet up with. Alex Tide is this mad DnB producer I became buddies with at a festival we were both playing in NZ. Also Herzeloyde lives around here. He’s nuts. If you’re reading this Herz, hit me up. 

For anyone making the trip down under (if the world will ever allow it), what’s the one place that everyone needs to see or experience?

Man honestly I think Australia is a pretty interesting place wherever you go, but within my own realm of experience I’d say visit the coastal beaches. Noosa area and Byron are lovely and the weather is usually impeccable. A lot of the NSW coastline is beautiful. If you’re looking at cities, Melbourne is the most interesting (especially according to anyone from Melbourne) and so far I’m finding it pretty endless in terms of things to do. I do have a soft spot for Brisbane though. It’s not a wild tourist destination but I miss the people there. I’m yet to visit Adelaide or Perth. 

Also fuck Australian pride – go to New Zealand. It’s unbelievable. Take a snowboard too.

Did you come from a musical background or play any instruments growing up? Do you feel like that had any influence on your approach?

My parents are pretty musical. My dad plays electric guitar and sings and my mum is a trained classical pianist. I was raised in church as well so I was pretty much singing every Sunday. For most of my early childhood my parents were in the worship band, but they also both had pretty elaborate taste in music. My dad loves Jeff Buckley, Elizabeth Fraser (from the Cocteau Twins) and a lot of blues artists. My mum loves a lot of things but particularly a lot of non-western music, like Balinese Gamelan (which she actually studied for a little while). So we listened to a massive variety of stuff when I was growing up.

I think I always had an ear for pitch and melody, and I’ve definitely always had a weird fascination with noises and voices (anyone that knows me will tell you half of my speech is delivered in some stupid accent) but despite my dad’s efforts to make me play electric, and my mum’s efforts to teach me piano, I found it really boring at the time. I spent most of my downtime on the computer trying to make weird shit like video games, films and animations (I used to love making stop motion stuff). 

At some point there I think I was trying to make some theme song for a film idea I had and started mucking around with some ghetto Garageband-ish program to make music. Then with a bit of influence from my good mate I got into guys like Wolfgang Gartner, the Aston Shuffle and eventually Skrillex, before getting a copy of FL Studio off him and becoming Super Serious DJ Kid With A Beiber Bowlcut. One day I’m sure someone will find photos.

When I was about 19 I started getting into more melancholy stuff and started mucking around with electric guitar. Later that year my dad got me an Ibanez amp for Christmas. Since then I’ve definitely noticed influence from some of his playing in my own stuff.

I find the more like a child I become with everything I do, the more I enjoy creating in general. I don’t really hustle anymore, I just do shit I like and scrape the cream off of it, and that becomes my creative output.

You have also spoken about drum and bass influences in your music. Who are some artists that you believe are doing something fun and unique, and what exactly do you find exciting about their music?

I mentioned Alex Tide earlier. He’s a really unique artist. ‘Ultrasuave’ and ‘Clapper’ are really sick tunes of his. In terms of DnB I think IMANU is destroying right now with his new EP, just in terms of quality and creativity and I also love that Buunshin remix of ‘The Wall.’ Super epic and angsty. Outside of DnB I’m continually impressed by Chee, I feel like I’ve had a completely-platonic-and-nothing-to-be-concerned-about producer crush on that dude for like the last couple of years. A lot of his sounds just cross over into the kind of sounds that I really like to make, and I think he has very similar influences. His new tune ‘Wallflower’ really tickles my metaphorical musical pickle. I was so inspired I ripped it from his mix and just started writing random shit around it for fun. I might just release it and pretend I made it, and then hopefully when I’m rich and copyright becomes a problem I’ll just hire a very good lawyer.

DISCLAIMER: I will not actually release anyone else’s work and claim it as my own. Even if my moniker is conducive to such behaviour.

What are some of your other driving inspirations when creating?

Honestly I find it really hard to say exactly how ideas happen for me, like most things in my process kinda change with the weather, but I’m a pretty avid believer in God, so I kinda attribute a lot of my creative successes to my relationship God. Not like as some reward for being pious or whatever, but I guess there’s a fundamental part of my personality that functions from the kind of super open conversations I have with God about stuff, and that makes way for a lot of the most honest moments in my creativity. A good chunk of my favourite tunes I’ve written have been about my relationship with God. It’s kinda lame, I honestly still find it hard to talk about that aspect of my life most of the time, but I feel like I wouldn’t be who I am or be doing anything that I do without God.

That being said generally movies and video games get creative juices flowing for me. Like I just get in a headspace after watching stuff and have to write something. I can’t deny, I fuckin love Spider-Man since forever. Honestly I think Spider-Man is like one of my biggest role models. Like I don’t give two fucks about adulthood, I’m still trying to be Spider-Man at 24.

I also love going out with a backpack and just exploring the city. If I’ve got ear buds on me I’ll usually end up running once a good tune comes on. Quite often I end up wearing myself out just as I’m realising I’m in some random suburb 30 minutes away from my house and then dragging my feet all the way home. Sometimes at a really dumb hour of night. I splurged on these real nice Vivo barefoot shoes earlier this year and I honestly think it’s one of my top 10 greatest investments. I run nearly everywhere in them. Also having the motorbike is awesome if I wanna buzz around the city, especially heading down south near St Kilda. Then when I’m all burned out and melancholic I just sit in front of my amp and wail out different arrangements of the same 4 or 5 chords. The thing is I find the more like a child I become with everything I do, the more I enjoy creating in general. I don’t really hustle anymore, I just do shit I like and scrape the cream off of it, and that becomes my creative output.

Tracklist:

COPYCATT – ID
Madlib – Episode XVI (COPYCATT FLIP)
COPYCATT – Suave
Beyoncé – Crazy In Love (COPYCATT FLIP)
COPYCATT – Ditto
COPYCATT – ID
COPYCATT – TREPP
COPYCATT & Frequent – Tom’s Battery
COPYCATT – ALL TALK
COPYCATT – ID (sorta)
COPYCATT – Survive
COPYCATT – Meat Grinder (ft. MF Doom)
COPYCATT – MTFBT
COPYCATT – ITSUM
Mr. Bill & Au5 – The Recency Effect (COPYCATT Remix)
COPYCATT – ID
COPYCATT – ID (sorta)
Flume – Rushing Back (COPYCATT Remix)

The post Guest Mix + Interview – COPYCATT appeared first on FUXWITHIT.

With nothing appearing on the new SoundCloud since ‘PIPES,’ many were left thinking this was maybe just a one-off – until last week, that is. On the 3rd of October, COPYCATT dropped ‘SHIPSTERN BLUFF’ for his loyal followers, also unofficially announcing his return to the platform. Almost every day since, COPYCATT has uploaded a new track to SoundCloud, from a variety of new beats to old favourites such as his ‘Rushing Back’ remix. As an artist that has truly mastered the Reese bass, fans can expect a consistent outpour of this core-shattering sound in the seven tracks that he has uploaded since his return, all in a variety of unique and refreshing arrangements that attest to his true skills as an innovator. Personal favourites so far include ‘ALL TALK’ and ‘madethisfuckinbeattwice,’ as they are two crunchy tunes that are quintessential to COPYCATT’s downright filthy style.

Don’t miss this potentially rare outpour of new music from COPYCATT!

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Kicking things off is tinyghost’s collab with fellow rising star blake skowron. ‘Double’ begins dreamy and slowly drifts into focus. When the drums and bass hit at full force, it’s like an ancient war. Gold encrusted armor is smashed with war-hammers, spears and arrows soar in all directions. It’s mystical, majestic and abusive all at once. ‘Problem’ with Laxcity and Khundipanda is the definition of a slapper. Khundipanda’s intensity and in-your-face-energy is backed by a beat that’s guaranteed to set clubs on fire. The break midway through provides a near meditative energy that makes the second drop feel that much more heinous. Closing things out comes ‘Indent’ with Copycatt. Despite the title don’t expect any formality. This brooding bass beast sounds like the soundtrack for a genetically mutated monster that slinks through the sewers.

Clocking in at less than ten minutes total, this is sure to leave you thirsting for more. Thankfully this looks to be only the beginning, “This is sort of a small collection but more ‘Association’ stuff might be on the horizon…” His plans aren’t crystal clear yet, but you should definitely expect to see and hear a lot more from tinyghost moving forward, “I’m not entirely sure where I’m headed, the rest is sort of uncharted territory but you can expect it to be interesting. I don’t plan on sticking to any singular genre or theme with tinyghost so other stuff with very different styles and directions are bound to happen. In addition to music I’m a graphic designer/visual artist so that stuff can be expected as well (commissions welcome lol).”

Stream Association below and grab it here.

The post PREMIERE: tinyghost Taps Blake Skowron, Laxcity, Khundipanda & Copycatt For Incredible ‘Association’ EP appeared first on FUXWITHIT.